Wicked For Good - My Thoughts

Finally caught up with Wicked For Good last night. Went in sceptically, came out in adoration.

Firstly, the criticisms:

Not *sure* that the original merited being served up as two full-length feature-film chapters - that being said, the film offers a greater scenic treat than the stage so maybe there is a justification.

Similarly - Stephen Schwartz’s new songs (especially No Place Like Home) feel like padding… there’s not much “Wow” in the new numbers compared to the brilliant original.

Also - TBH the CGI left me unmoved - I don’t need to see Elohaba fly on her broomstick, nor do I crave the sight of a menagerie of liberated beasts… but I’m sure that many others will have thoroughly enjoyed the digital wizardry.

THAT BEING SAID….

The acting (and singing) is off the scale. Both Cynthia Erivo and Ariana Grande deliver the complex nuances of their roles to perfection - and given that cinema is all about the close-up, their facial work is sensational. One of the best on-screen dramas to be found this year.

Equally the supporting work from Jonathan Bailey (Fiyero), Ethan Slater (Boq) , Marissa Bode (Nessarose) and of course Jeff Goldblum as the Wizard is all delivered with pinpoint accuracy.
And fab to spot so many unsung greats from the pool of UK musical theatre talent, popping up all over the place in various minor roles. 

If you haven’t already seen it - catch it on a big screen somewhere before it streams its way into the global consciousness!

Beauty and the Beast a Horny Love Story - Review

Charing Cross Theatre, London

****

Written by Jon Bradfield and Martin Hooper

Directed by Andrew Beckett

Keanu Adolphus Johnson and Matt Kennedy

Writers Jon Bradfield and Martin Hooper have transferred the classic fairytale over the sea from France to the Scottish village of Lickmanochers. With the town of Suckmacoch nearby, the scene is perfectly set for one of the capital’s filthiest, funniest pantomimes this year.

Deliciously de-Disneyfied, and with a wonderfully improbable storyline that is best not subject to too much scrutiny, it’s no real spoiler to say that Keanu Adolphus Johnson’s gay Beast does follow the tale’s traditional path, winning the love of Matt Kennedy’s virginal Bertie.

Matthew Baldwin’s Dame Flora (“easily spread”) is a blast, with an array of costumes that include a fabulous take on Angela Lansbury/Mrs Potts’s teapot. Dani Mirels (as Juno) and Laura Anna-Mead (Bonnie) provide the evening’s sapphic love interest.

As Bradfield and Hooper spoof many of the cartoon’s numbers, there’s a terrific rip-off of Belle to get things started, with a sensational Be Our Slave featuring later in the show. Quite how the narrative winds up in the North Sea (with In The Navy evolved into On An Oil Rig) is a conundrum but frankly it doesn’t matter. The dialogue is slick, sassy and coarse, with knowing theatrical nods and references to satisfy even the wisest West End Wendy. The shows production values are fab. Andrew Beckett’s direction is strengthened by David Shields’s simply sumptuous sets and Carole Todd’s imaginative choreography.

Leave the kids at home and treat yourself to a classy night out that's as camp as Christmas.

Runs until 11th January 2026

Photo credit: Steve Gregson

Jack and the Beanstalk - Review

Palace Theatre, Watford

****

Written by Steve Marmion

Directed by James Williams

Jack and the Beanstalk at Watford Palace Theatre makes for fine family fun. From its opening number of Alicia Keys’s Empire State of Mind that delightfully transforms its haunting New York lyric into Watford, the show is off to a cracking start. 

Imad Eldeen puts in a fresh-faced turn as Jack but it is Watford’s favourite dame, Terence Frisch now in his 13th season at the venue, who drives the show’s comedy as Jack’s mum Dame Trott. The other on-stage powerhouse  is Lauren Azania as Fairy ‘Nuff whose energy and vocals are never less than excellent. The evening’s boos are well earned by Jessica Dennis as the Giant’s assistant Judi Henchman while the enormous puppet Giant is boomingly voiced by Stephen Fry.

This is a lovely local panto with a fabulously drilled troupe of local young performers providing the dance and some modest acting backup too. Don’t ask why, but somehow Rent’s Seasons of Love is shoe-horned into the narrative, with credit to the entire on-stage company for delivering gorgeous vocals to that number (and great work too from Associate Musical Director Dominic Bull on keys). There was a smattering of recent pop hits included, that may well have bypassed the over 40s in the audience but certainly had the kids grinning in recognition. 

Frisch’s banter is spot-on throughout, with his dress that sees him as local legend Elton John sprawled across a piano, one of the evening’s highlights.

If smiling, laughing kids and adults are the hallmark of a great pantomime, then Steve Marmion and Watford Palace Theatre have delivered a fabulous show.

Runs until 4th January 2026

Paddington The Musical - Review

Savoy Theatre, London

****

Music and lyrics by Tom Fletcher

Book by Jessica Swale

Directed by Luke Sheppard

Based on A Bear Called Paddington written by Michael Bond and the film ‘PADDINGTON’, by special arrangement with STUDIOCANAL

James Hameed and Arti Shah

Newly arrived from deepest, darkest Peru, Paddington The Musical has opened at London’s Savoy Theatre and visually, it’s a treat!

On the night of this review Abbie Purvis, the alternate Paddington, played the onstage bear as James Hameed voiced Paddington, the two of them combining to create one of the finest characters to be found on a London stage. The fusion of technical wizardry, Tahra Zafar's fabulous bear designs and the pair’s acting talent (with Purvis making her West End debut too!) truly brought Michael Bond’s kind and inquisitive bear to life. The magic of the show is lifted by Tom Pyle’s scenic design work and Ash J Woodward’s videos that give a glorious excitement to the Savoy’s stage and surrounds.

There are some absolute gems in the show’s supporting cast, with Bonnie Langford as the wise old Mrs Bird stealing her scenes with her stunning stage presence. Matching Langford is Tom Edden, arguably the nation's master of physical comedy who nimbly steps back and forward across the fourth wall as Mr Curry, the bad guy who finds redemption. Victoria Hamilton-Barritt is deliciously boo-able as the baddy Millicent Clyde, as the quartet playing the likeable Brown family all put in a decent shift.

Jessica Swale has written the show’s book and Tom Fletcher, the music and lyrics. Paddington at heart is a simple fable and while the creative pair retain the essence of Bond’s stories, too much of their take on London plays out too politically, their rose-tinted view of the capital at odds with many of the city's more ugly realities. Musically, many of the show's early melodies are bland and often with lyrics that are disappointingly inaudible. It really takes until the second act for Fletcher’s compositions to break free of the constraints of his pop-music background and display true wit.

Luke Sheppard, truly the wunderkind of modern musical theatre direction knows how to direct a family show that looks wonderful, is acted brilliantly and makes for fine, fun family entertainment.

Booking until 25th October 2026

Photo credit: Johan Persson

My Fair Lady - Review

The Mill At Sonning, Sonning

****

Music by Frederick Loewe

Lyrics and book by Alan Jay Lerner

Directed by Joseph Pitcher

Mark Monoghan and the cast of My Fair Lady

Joseph Pitcher directs an entertaining take on My Fair Lady at The Mill at Sonning that sees Nadim Naaman play a perfectly clipped Henry Higgins opposite Simbi Akande's Eliza Doolittle.

In a class act Naaman nails the Professor in a performance that captures both the man’s genius as well as his insensitive chauvinism. Akande brings vocal excellence to Eliza but she needs to dig a little bit deeper to bring out her character’s complex fragility and chemistry.

There is excellence elsewhere in Pitcher’s company. Jo Servi’s Colonel Pickering is drilled to perfection. Sophie Louise Dann delivers her usual flawless work, doubling up firstly as Mrs Hopkins and also as an outstanding Mrs Higgins, while the inspirational Mark Monaghan offers up perfectly executed comic relief as Alfred P. Doolittle.

Sonning’s intimate space is transformed by Diego Pitarch’s designs that elegantly suggest the story’s locations, from Covent Garden to Wimpole Street to Ascot. Pitcher and Alex Christian co-choreograph the show with Get Me to the Church on Time an exquisite riot of dance.

My Fair Lady at Sonning is a Christmas treat!

Runs until 17th January 2026

Photo credit: Pamela Raith

The Sound of Music - Review

Curve Theatre, Leicester

*****

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Book by Howard Lindsay and Russel Crouse

Directed by Nikolai Foster

Molly Lynch

It’s been 11 years since the Curve was filled with the sound of music but in a radically imagined and invigorating staging, Nikolai Foster delivers possibly the finest interpretation of the Broadway classic to have played on this side of the Atlantic.

Before a word has been sung, the curtain rises on Michael Taylor’s set that is truly breathtaking. The Austrian mountains have been ingeniously crafted onto the vast Curve space, complete with lofty peaks, rolling mists and a trickling stream. The Nuns sing us into the Preludium before Molly Lynch as Maria appears at the top of the mountain, singing the title number as she picks her way down the hillside. This stunning image together with Lynch's pitch-perfect vocals deliver but one of the enchanting moments that are scattered throughout the evening, as Lynch reveals new depths to Maria’s complexities.

Foster offers us an eye-popping Maria, more pop-star than postulant. Lynch may give us a guitar-driven version of My Favourite Things, yet she can still portray a young woman capable of a blisteringly humbling honesty in front of Joanna Riding’s marvellous Mother Abbess. Not only that, hers is an an intuitively empathetic and compassionate connection with the von Trapp children. Truly a performance of musical theatre genius.

Mirroring the romantic partnership of last year’s My Fair Lady at Curve, David Seadon-Young is again the story's romantic foil, this time as the handsome, widowered Captain Georg von Trapp. Whether it’s chemistry or electricity that powers the romance between him and Maria is hard to tell. Whatever - the love that emerges between the pair is palpable, with Seadon-Young mirroring Lynch’s craft in musical theatre. And his Edelweiss is a stunner.

But this show is not all about the powerhouse couple of Maria and Georg. The calibre of Foster’s company is quite simply off the scale. Joanna Riding brings a fabulous combination of wit and wisdom to the Mother Abbess. As she delivers her truly blessed voice to this most blessed of characters, her Climb Ev’ry Mountain lifts the roof off both the Abbey and the Curve.

Minal Patel’s Max Detweiler captures the man’s complexities in a fine display of compassionate pomposity and with a fine singing voice too. In one of the story’s most two-dimensional characters, Faye Brooks has the tough gig of playing Elsa Schraeder, a woman who has to manage the pain of her unreturned love for Georg. Allowed only minimal dialogue to tell her story, Brooks’s acting is first-class. And in the Captain’s household, Rachel Izen’s housekeeper Frau Schmidt is another modest gem of a performance, cleverly capturing Schmidt’s starched, matriarchal kindness.

Ebony Molina choreographs with a thoughtful flair - and in the build up to the penultimate scene's Music Festival in Salzburg where the concert hall is of course packed full of evil Nazis, there is just a hint of Springtime For Hitler in her routine to herald the arrival of the von Trapp Family Singers 

Possibly the finest brand new production to be opening in the UK this Christmas, The Sound of Music in Leicester is unmissable.

Runs until 17th January 2026

Photo credit: Marc Brenner

A Christmas Carol - Review

Alexandra Palace Theatre

****

Written by Charles Dickens

Adapted by Mark Gatiss

Directed by Adam Penford

Matthew Cottle and Neil Morissey

Mark Gatiss has crafted a gorgeous adaptation of Charles Dickens’s Christmas classic. That the production is staged amidst the Victoriana of the Alexandra Palace Theatre only adds to the authenticity of the evening’s charm.

Adam Penford directs Matthew Cottle as Ebenezer Scrooge. Onstage virtually throughout, Penford delivers a cracking Scrooge, whose famed redemption is as uplifting as it is heart-touching. Grabbing the star-billing in this, the fourth outing for the Gatiss adaptation, is Neil Morrisey as Jacob Marley.

“Marley was dead” is how Dickens opened his narrative. Gatiss however cleverly weaves in a prologue that sets the scene some seven years prior. The show kicks off with Marley and Scrooge working side by side at their ledgers, curmudgeonly skinflints the pair of them, before Marley with a wonderfully comic flourish, drops his quill and drops dead. It’s a marvellous Marley from Morrisey who together with every other member of the cast (apart from Cottle), endures numerous costume changes as he delivers a number of the story’s supporting characters.

While the production is very much a tremendously company-driven production, Cottle helms the narrative exquisitely – his presence continuous throughout both acts, yet never dominating and always allowing the story’s nuances and fine detail to be played out by his fellow troupers.

Remembering that this is of course a ghost story, Gatiss retains the sharpness of Dickens’s black humour while also imbuing the production with just enough ghostly spookiness and deliciously simple special effects that will mildly scare the kids without going too far. Paul Wills’s set design is an equally ingenious treat – all swirling filing cabinets, moved around as needed, with projections to crown the show’s beautiful staging. 

This is fine company work with too many names to praise – a shout out however for the two kids rostered to perform on press night, Kaycee Davis and Dexter Pulling who were spot-on throughout.

A Christmas Carol at Alexandra Palace is fabulous festive fayre!

Runs until 4th January 2026

Photo credit: Mark Douet